Back in late July of last year, while I was covering Fantasia Festival remotely for Nightmarish Conjurings, I was incredibly psyched to receive an email announcing that LORDS OF CHAOS would be playing at the end of the festival. Since I was doing remote coverage, I wasn’t able to see the film then, but since that moment in July, I was impatiently waiting for Jonas Åkerlund’s interpretation of one of my favorite true crime/music books.

Jonas Åkerlund is pretty much the best person that could’ve directed a film about the dark annals of metal history, considering he was an early member of the huge Swedish Viking metal band, Bathory. Bathory laid the groundwork for what would eventually become Black Metal, whose roots sprung in Norway, with the inception of Mayhem. While the book starts chronologically explaining the history and evolution of metal up to the point that Mayhem started, the movie dives right into the blood and guts of the story that chronicles a series of wild events that are almost too fucked up to be true.

I could go on and on about the history of Mayhem, Burzum, and Darkthrone…but I won’t. Instead, I’m here to discuss the awesome LORDS OF CHAOS round table I attended with two other journalists, organized by Gunpowder & Sky at Vice Studios. Jonas Åkerlund, Rory Culkin, and Emory Cohen were also in attendance. Rory Cohen plays Euronymous (birth name Øystein Aarseth), the founder of Mayhem. Emory Cohen plays Varg Vikernes (birth name Kritian Vikernes) the man behind Burzum and a lot of criminal enterprises in early 90’s Norway.

What happens next was a rapid fire of excellent questions all around.

Right off the bat, they were hit with “Let’s talk about the reality and the authenticity of the kills and the suicide..” from long-time horror journalist Jay Kay. It’s common knowledge among most metal fans that Mayhem’s original lead singer Dead (Per Yngve Ohlin, depicted excellently in the film by Jack Kilmer) killed himself and Euronymous took photos of it which are pretty available to look at if you feel the need to for whatever reason.

“Well based on photos, it was actually, knowing that I wanted to make the movie…as close to the reality as I could,” Åkerlund replies, “it was actually the easiest part of it. It was so well documented in the police reports. So, I tried to stick to that as much as I could and wanted it to look as real and raw as possible. I didn’t add any music. I made it very clean. The suicide is obviously in daylight which makes it even more raw. A lot of close-ups and the sound and all that and we also did it very old school. We shot it with rubber prosthetics and pumps for blood, so it was very old school, the way we made it. You probably would have made it more CGI if you‘d done it today.”

Then long-time music and film journalist Brad Balfour asked Rory and Emory “What was it like, with a kill like that (Euronymous’s murder by Varg) to be part of something like that?

Rory Culkin responds, “Yeah well, there’s a lot of choreography but I guess, you know, this was a real murder that took place and so we know it started in the apartment and then it ended in the stairwell, so it’s sort of up to us to fill in the blanks of what happened between that. I assume there was a good amount of pleading and talking, so that was interesting to try and fill in those gaps.”

Åkerlund interjects, saying, “Most of the stabs in that scene were in his back, which meant he was trying to get away.”

“36, that’s crazy” Kay commented. Meaning Euronymous was stabbed by Varg IN REAL LIFE thirty-six times. We don’t even see that many of them on screen.

“I wanted to ask, and sorry because I know this is kind of sensitive,” I started with my first question, “but the actual Varg is very against this movie and I wanted to know what you guys thought about that and also I wanted to ask you (Emory Cohen) how do you play someone that you know in reality is a legit terrible person.”

Emory Cohen’s response was “I’ve played some mean characters before.”

“I know, but this one’s probably the meanest, I think” I responded.

“Yeah probably the meanest,” Cohen responded.

“Not starting out though,” Åkerlund says.

“Yeah,” Cohen says,” Not starting out and you look at it as you know, someones gotta play the part, right?”

“Yeah, but how did you humanize somebody like that?,” Obviously I was very curious mainly because Varg, in reality, is such a scumbag and had personally called out Culkin and Cohen for various (unfair and SURPRISE racist) reasons, and Cohen seems like a nice dude. I guess this means that he’s a good actor, but I digress.

“I focus on him before he killed Euronymous, “Cohen responded, “I had focused, of course, on how you get to that point…for the story, but, I mean, we keep talking about this murder scene but we forget that’s the last scene of the movie. There’s a whole movie, there’s a whole build. I focused on seeing him as confused and hurt and scared and…not being necessarily a fan of the music, coming into it, I didn’t understand this world. I wasn’t trying to really understand it, I was trying to fill it with life and meaning and behavior and that’s what I do, you know. You know, they send you a script, you play the part, they pay you for it, you go home,” That last comment solicited a laugh from me, just the simplification of such an awesome performance is pretty refreshing.

“Rory, for you?” Balfour said,” to which Culkin responds “What?’

“Understanding your character, humanizing your character? These guys are all really pretty wack and you’re trying to understand what about that music they connected with and what about the extremes they went made them how they were?”

“Yeah,” Culkin starts, “There’s definitely an aspect of Euronymous to admire. He’s very passionate, he was good with publicity and things and a good musician and then there are things that he says like he wants his music to provoke suicide and things like that, which you just can’t get behind and I would like to think that was part of his promotion and he didn’t actually feel or think all these things, but I don’t know, and then as far as the murder scene, there’s a feeling of a scorned lover…I think, I don’t know this for sure, but I think Euronymous was sort of growing up a bit. You know he was listening to Tangerine Dream at the time of his death.”

“Yeah, and he actually did cut his hair, right?” I asked

“He did really cut his hair, yeah,” Culkin responds, “I got a chance to see Euronymous dead, and yeah, he had short hair and he was in pajamas and he sort of became just like a kid, so it was sort of important for me to just do that kid justice and not lean into his character that he was trying to portray, and lean more into Øystein.”

“Did you guys talk much about the nature of the music? Why that music, why that scene? Is it just one way of finding a scene that’s even more outside of the mainstream Norwegian society, because it seems to be a fairly homogenous society, I mean you certainly know,” Balfour says to Åkerlund.

“Yeah,” Åkerlund responds, “well the film was never meant to be about the music. I mean obviously it’s there and it’s a big part of what was left behind. You know, their creativity. It’s still probably the best black metal that there ever was. Also, they did create that sound and they did create that logo and they did some truly memorable things within the music scene, but it’s not really a movie about that. I needed to have it in there, of course, and it’s a big part of what they did, and in the first act, it’s a lot about them trying to figure out and learn their instruments and find themselves while being awkward around girls and having a party and all that stuff. That’s part of the first act and it becomes important to remind us that they are very young when we see the rest of the movie.”

“Can you talk about bringing the DP on the project, because he’s worked with you a lot on music videos and on other stuff. Talk about bringing Pär (M. Ekberg) on?” Jay Kay asks Jonas.  

“Yeah, he kind of comes with me, it’s like a package deal,” says Åkerlund, “We have a pretty broad spectrum of what we can do. He’s not the only one, there are other people that I work with. In this case with him, there was so much material to work from and we used a lot of—these kids were really good at taking pictures, pre-mobile phones and pre Internet. I guess you can thank Kodak for that disposable camera. I don’t know, they were some shit cameras but they became, it was a look to work with, so we used a lot of that in the film and we loved a lot of those reference pictures”

“I wanted to know how difficult was it to get permission from everybody that was involved”, I asked Åkerlund next.

“Permission?”

“To like use people’s likenesses or to talk about them.”

“That’s easy,” Åkerlund responded, “you just buy the rights to the book and then you’re done.”

“Oh okay,” I responded with a laugh.

“Was there any problems getting permission from other people once you bought the book?” Balfour asked.

“No, no problem. It’s all public domain too, so I didn’t really need the book, to be honest, but we did buy the book for that specific reason. But the biggest thing was to get the rights to the music and I couldn’t really make this movie without the music. I was just saying the music was not important but of course, it is important to have the right music. I mean everything; I spent so many hours getting the sneakers, the guitars, the t-shirts, the posters, everything right. And the music, of course, has to be the right music. So, even before we started this project, I had a script, but before we even went into production, I had the approval to use the Mayhem music. It was kind of difficult because when Euronymous died, the rights went to his parents and the parents took a decision right after his death that they didn’t want anything to do with it. They never spoke to anyone about it and they kind of just disappeared, so for me to approach them about this was very difficult.”

“Was that a challenge, “ Kay asked “and this is something I hear as a criticism of the movie, is that a lot of the victims are not shown. Their side’s not shown, whether it comes to the burning of the churches, whether it comes from your (Rory’s) character’s family, whether it comes from the people affected…was that a difficult aspect to not include in the film? And this can go to anyone”

Åkerlund starts, “I mean for me, it was a very fine line of keeping the people that I thought were important involved and respect them and what they went through and a lot of people are still very hurt from this, obviously. But I felt like—I didn’t want to win them over, I wanted them to understand that I’m gonna make this movie either way and we can work together on it and have an understanding of what it is I’m doing. My pitch is ‘I’m gonna make them human. I’m gonna humanize them’ and remind people that they were children because every fucking document there is, there’s always a fire and a dark voice and a demon (everybody cracks up here) and that’s what we’re used to seeing when we Google these names, so I think now there’s a little bit of a different perspective for the first time and I think they all kind of like that. I think they all understood that it’s an important aspect that hasn’t been told before, but at the same time, I wanted to make a movie and I didn’t want to make their movie, so it was a fine line, there was a balance for me throughout the whole thing.”

“Was there a certain responsibility you guys felt in terms of playing these characters because, as you say, they’re people who had at least had crazy implications, you know burning churches and all this and that. So there’s one part of you that wants to humanize them, one part of you that’s pitted with the idea that ‘Am I making you look okay?’ Was the next question directed towards the actors from Balfour.  

Rory Culkin chimes in first with, “Yeah, I think it’s just about trying to understand motives, I guess. There were definitely cool elements to it, you know. These guys like, looked pretty cool, and you know, the attitude is appealing for a reason. So I just tried to use that as my way in. So if this culture is cool then I sort of get why they like it and it’s fun. You know, I try to see the fun element. I never really got into the music before this, and it’s also like with horror movies, you wonder why people love horror movies or certain kinds of music and I’m trying to understand it still but I think it’s kind of making light of death. Suddenly death isn’t so scary anymore if we can have fun with it and refer to ourselves as Satan and the devil. Suddenly demons aren’t as scary and it’s fun and you’re sort of in control and you’re the one that people are afraid of. I see why that’s appealing.”

Cohen answers with, “From my point of view, yeah, I think you do want to make the characters human. I think you do want to respect all the people involved especially victims…and then I think you want to take a deep breath and go onto the film shoot for the first day and do what you do. You can get lost…and you need to feel a sense of responsibility when telling real events but you also need to allow yourself a little bit of permission to take that away and do what it is that you’re here to do. You know, also, as actors, jobs come and you do them and different scripts come and who knows what the circumstance is and you do your job. So as Jonas says, it’s a fine line. You should feel the weight of responsibility but you should also remember you’re playing a different person, you know, and it’s make believe.”

“We kind of have that also in the beginning of the movie,” Åkerlund adds, “based on truth and lies and that kind of clears us a little bit to give us a little free pass to do it the way that we wanted to make the movie as well as being close to the reality.”

“This is kind of me being a horror movie nerd”, I said, “you know, speaking of horror movies. Which movies were they watching? I think I noticed Dead Alive.”

“Yes,” Åkerlund responds,”We had, when I was editing the movie I had different movies each time we came to that scene where Faust is watching these movies, I have different ones but then due to our limited budget, we ended up with…it’s not that many, I think it’s like two.”

“Two or three,” Jay Kay journalist/horror nerd chimed in.

“It’s Evil Dead…” Jonas starts

Then my fellow horror nerd Kay interjects with “It’s Evil Dead, Brain Dead (or Dead Alive),

“Yes, Evil Dead and Brain Dead and that’s it,” Jonas says, “ We had way more of them.”

“I thought that was cool though when you say Brain Dead, I always think Dead Alive so I was like ‘Oh Shit, is that Dead Alive?”

Bouncing off my question, Balfour asks, “Did you guys watch those or any particular horror movies at great length while shooting this?”

“You mean, as like, preparation?” Culkin asks.

“Oh not even as a preparation…”

“We didn’t even have them on set,” Åkerlund says.

“I thought maybe in your hotel room or something.”

“Oh no, we were pretty limited on time,” Culkin says, “so any time we had off we were trying to just chill out.”

“Yeah, didn’t you shoot this in 18 days?” I asked.

Everyone involved confirmed.

“That’s crazy,” I respond, and once you see the film, you will see what I mean.

“Did you listen to any of the records in the record shop?,” Jay Kay asked, because the record shop, I love the tangible aspect of it as it echoes into it.”

“The sound department had a playlist ready to go,” Rory answers, “Especially earlier on when Euronymous was younger, I took advantage of that a lot.”

“Yeah, we had different playlists,” Jonas answers, “I think we had a different playlist for Act 1, which is very different from what they listen to in Act 2, which is obviously very different from where Euronymous was going in Act 3, so…”

“Things were getting heavier and heavier,” Rory adds, “Early on it was Demon—“

“Did you listen to all the records or just excerpts,” Balfour asks.

“Yeah, we would listen to it,” Rory responded to it, “but also, in between takes, like there’s that scene in the bedroom very early on where I’m telling my friend to cut the other friend with a knife and we were playing Demon. That’s just an upbeat, fun, I don’t know, it helped.”

“And Tangerine Dream?” Balfour asks

“Well yeah, we listened to that in the end,” Rory answers, “that’s a weird like ambient sort of—it was spooking me because I knew what was coming.”

“Euronymous was a big fan (of Tangerine Dream),” Jonas says, “He even traveled down to where they are from, Switzerland, Austria…?”

(A bunch of us say Germany)

“Euronymous even travelled down and knocked on his door because he wanted to do a collaboration with him (Edgar Froese, founder of the group) for Mayhem.”

“Oh that’s awesome!,” I exclaimed because that would have been really fucking weird and definitely awesome.

“He was a huge fan,” Jonas says.

“He was evolving,” Rory says.

“In the police report, it says that he had exactly that album on his record player when they found him dead.” Jonas says

We were all collectively blown away by that, but time is of the essence in these scenarios so I jumped on to the next question.

“Has this screened in Norway yet?” I asked.

“It’s coming out in Norway but it did Bergen film festival. Unfortunately, I couldn’t go”

“How did people feel about it?” I wondered.

“I was invited to go but I couldn’t go,” Jonas continues, “but it did really well and it got great reviews which I don’t want to say I didn’t expect it but I was very happy to see it.”

Balfour then asks “When you guys meet fans of the music, do people immediately assume that you’re into it and you’re just as connected to it or when they see you outside of the costume and the characters that they don’t connect? How do people connect to you or what are their expectations?”

“I think so far they understand that we’re performers telling a story, “ Rory answers, “Before we shot it I would tell somebody what we were about to film, as not everybody knows about the story and the ones that did would light up when they heard that it’s gonna be on screen so…yeah”

“I’ve also found that there are a lot of people who know about this story who aren’t particularly fans of the music,” Emory adds, “That they just heard about this story. Also, what I have found, which I think is interesting, is the question ‘did you like the music?” is like three or four questions down, you know. It’s normally about ‘Where’d you shoot it? What was the wig like?’ You know what I mean. They understand that there was a technical aspect to it and then they say you know, ‘did you like the music?”

“It’s just that fans of music are a little different than fans of films, in a sense that the certain kind of connection people feel with music and the way I think film fans don’t always have unless they’re horror and stuff”. Balfour said which I responded with “no not really” because I happen to feel very similarly in my passion for film and music. Anyway, moving on…

“That’s why I asked, I was curious whether the fans that came for the music as opposed to the ones being film fans or horror fans”

Rory answers with “Yeah, it’s interesting at these festivals because of the kind of crowd we attract. It’s people that love the arts and film and then there’s like these metalheads and they’re all sort of mixed together. The Q&A’s make for some interesting….”

“What was the craziest question you guys got?” Balfour asks.

“There was one Q & A I did here in Brooklyn a few months back,” Rory answers, “It was the same question repeated—

I accidentally interrupted with “Oh, at Alamo?” because I love Alamo, but anyway Rory continues with “Oh yeah! Alamo. And it was like “What kinda music you like?” and I’d be like ‘Crosby, Stills & Nash’. And it would be fairly quiet and then someone else would ask a question and then again someone says ‘But what kind of music do you like?’ and I’m like ‘Uhhh, you know what, I like King Diamond.’ And everyone was like “YEEEAAAAHHH!!”

“I wanted to ask if there’s anybody in the cast, I mean obviously you (gesturing to Jonas) love this kind of music, but was there anybody—“

“No, not really,” Jonas joked.

We all laughed and I continued.

“Was there anyone in the cast who was like a super duper crazy fan?”

“I think Jack Kilmer was the most knowledgeable,” Rory says, while Emory and Jonas both say “JACK”. I will take this moment and say that Kilmer’s performance as Dead in the film is one of my absolute favorite parts, minus his treatment of cats, which is…UGH.

“Jack was definitely hooked,” Emory says.

“Also Sky (Ferreira),” Rory says.

“Yeah, Sky,” Emory agrees.

“Wilson (Gonzalez, who plays Blackthorn) knew a lot too, at least he told me a lot,” Emory says.

“No, he did his research for sure,” Rory says.

“What about the costuming?” asks Kay, “You dress pretty casual going into a world like that, for a while anyway? You running out in your underwear..”

Emory responds, “That’s more…Jonas had these great picture scripts and a lot of the shirts that we wear are very authentic to pictures and the band names and stuff like that. In terms of costuming for characters, I had these boots that I really dug”

“Did you get to keep em?” Kay asks

“I wasn’t interested in keeping them,” Emory says.

“Did you get to keep the underwear,” Balfour asks Rory.

“I stole everything,” Rory says.

“Awesome,” I respond because their clothes were great.

“I had to send it back. I held on to like certain things, but yeah, they made me send it all back. The leather jacket was hard to let go of but I’m not gonna wear this in my personal life, but like..”

“That was a great leather jacket,” Emory says.

“It was,” Rory says.

“It’s in my storage, you can get it back,” Jonas interjects.

“Was it your own underwear or was it—“ says our fellow reviewer which cracks me up because the underwear has been brought up a lot at this point.

“The red underwear?” Rory asks.

Everyone’s laughing and talking at once at this point, we’re getting to the rowdy part of the roundtable I guess, ha-ha, but I had at least one more thing I wanted to know so I asked Jonas this next.

“I was going to ask you, when you first heard about this (the events that took place with the members of Mayhem), because you were in Bathory, was there ever any kind of similar, obviously people didn’t die, but was there a lot of competition between bands back when you guys were making music?”

“No, we didn’t really have that thing in Sweden,” Jonas responds, “Later when I had left the scene, it became like a big thing between Norwegian Metal and Swedish Metal. We touch upon it a little bit in the film, but that would have been too big of a story to add, but that was big. A lot of my friends that were more in like these death metal bands couldn’t even go to Norway because they were worried, they were scared because Euronymous was calling in death threats. I have friends who got a phone call from him like threatening them ‘if you come here, we’re gonna kill you’ so they cancelled all the Norway dates.”

“Did you know him? Did you ever meet Euronymous?” I asked

“No, Euronymous, nah, I never met him, “ Jonas says, “I have a lot of friends who did but I left the scene right around the time that Per had moved to Norway as I slowly went into filmmaking. Actually my first music video, Per was in my first music video, as an extra, but he was in it. We were kind of like the same scene, he was a couple of years younger than me, but we came from…Morbid and Bathory shared a rehearsal studio for a while so it was kind of a little thing between us. And Quthorn who eventually brought Bathory to what it became, he didn’t like the Norwegian scene at all and he was very vocal about it. He said it many times and he had as much fantasy as these guys and he was great, a fantastic musician and all that stuff but he would never take it into reality like they did”

“Can you talk about having Gunpowder & Sky behind the film?” asks Kay “Because they put out some really great horror titles over the last couple of years?”

“Yeah,” Jonas answers,” I mean, to me, they’re my big saviors because this movie was not easy to sell. It was really hard to get it done. It was hard to get it financed. Everything was hard on this movie. It was an uphill idea from day one, up til I met them (Gunpowder & Sky). I knew Germany was gonna like this movie. I knew it was gonna work in England but Gunpowder & Sky helped me to open these doors, so I don’t know where this movie would’ve been without them to be honest.”

“Well, in light of that question, what made you decide to do this movie? What made this the feature you were going to make and how did you guys (Rory and Emory) come into play? At what point?’ asks Balfour.

“And why is the right time for it now?” adds Kay.

Jonas answers, “Well, I think about that a lot, but now I’m actually really happy I didn’t do this movie 10 years ago or even 5 years ago. I think the timing, I don’t know maybe it’s just because it’s happening now but it feels like it needed a little bit of distance but there’s still a lot of people that were around that are curious to see it and a whole new generation that knows the story, but I’ve been thinking about it in different shapes and forms already since it happened. Like I remember seeing about the church burnings and I was already shooting here in America and it was on CNN. Already, back then, I thought ‘there’s something in this story’ and I went through that whole process. I went through years of thinking that this story was more important to me than anybody else and that I kind of like own it and I was closer to it than anybody else. I meet a lot of people who think that, so I understand what that is. But then I seriously started thinking about it five..six years ago, I wrote the script and we (gestures at Rory) met like five years ago.”

“Oh so you were early on in the process”, Balfour asks.

“Rory was first in and last out,” Jonas says

“The script was sent, hard copy because we were still getting hard copy scripts five years ago, and before the title page, there was just a picture of Euronymous. It was him in the cemetery with the cloak.”

“And that sword,” Balfour says.

“It could’ve been a painting, I didn’t even know. It was a strange image that immediately grabbed my attention and then I read the script and honestly sort of had a hard time keeping up with all the characters because of the crazy names like Necrobutcher and like..yeah. I just really took to it and then we met over the phone first. My phone died TWICE. I was just pulling my hair out because my phone kept dying and I was like ‘I wanna be in your movie!’ and then yeah, we just met over the years.”

“And he stayed on it, which I appreciate until this day, because like I said, it took a long time and over those years, I was worried that he was gonna go away and disappear but he didn’t. Then we met, (gesturing to Emory), we met kind of late. It was like the whole thing of moving actors around and finding the chemistry in the group and then we met…where did we meet?”

“We met on Skype,” Emory answers, “We met on FaceTime I think and then, didn’t we meet in London?”

“Yeah,” Jonas says.

We were approaching the end of our time so I snuck in one last question.

“What are you guys working on next, and was it a conscious effort to sort of move away from something this dark?”

“Um, right now, what am I working on?,” Emory asks, “I’m doing a miniseries for Showtime about Roger Ailes with Russell Crowe playing Roger Ailes. I have another TV series that I’m on and what was great is those can be bigger jobs but what drew me to it was I’m a huge fan of Spun and I’m a big fan of Rory’s work and from being around and knowing what independent films are like, I felt like these are guys that I’d definitely like to go on that journey with because it is harder. 18 days is harder and people think that indie movies, that big movies don’t have the same problems, they have the same exact problems they just have more money and more time than these do and I wanted to be with these guys”

“Rory,” Balfour asked.

“What am I working on?” he asks

“Yeah.”

“I’m working on a show called A City On the Hill also for Showtime. It’s a Kevin Bacon Boston crime show. I guess Showtime likes the movie because they keep borrowing the actors.” Rory says.

“Since Lords of Chaos I have actually done another movie that came out a week ago, Polar,” Jonas says

“Oh, yes! Yes”

“It was after but it came out before.”

“I just talked to Mads Mikkelsen like a couple of weeks ago”

“Polar is on Netflix and now I’m back to music videos. I did Rammstein, one with their new album right now”

“YESSSS!!!! They’re amazing, their live show is incredible”

“Yeah, so that’s what I ‘m doing right now”

And one more question went to Balfour.

“What do you think about the poster (directed at Rory)? That’s you, your face.”

“That’s cool,” Rory says, “The important part to me was the corpse paint. I just thought we needed corpse paint, it didn’t have to be me, but I’m flattered.”

Kay got the last question.

“Talk about belief because you talked about humanizing your character. Everything, especially when it comes to horror, is a belief that the villain and the hero are doing the right thing no matter what it is”

“I mean as making a character believable,” Emory asks,

“Absolutely”

“What I saw it as is at the beginning to make him shy, to make him a fan of the music. To let him become Varg, to become The Count, and also to make it a little bit softer at the beginning for that character. I felt that if it was a bigger switch at the end then you would believe it more, you know. I didn’t think…I mean if he was like a mean dude, then what is there to believe. That’s how I was, onto you (Rory).”

“I guess belief would be belief in myself. Euronymous seems incredibly confident and he appealed to a lot of people so my struggle was trying to be appealing and to just pump my ego up and look at myself in the mirror and say ‘YOU ARE DEATH’ (I died laughing at this point, by the way).

“You should have seen him when they were shooting the rock show where Dead cuts himself, “Emory interjects, “He had the audience just right there. He made one gesture, the audience just started screaming.”

We talked a little bit after but this was definitely one of the most illuminating interview experiences I had. Having other voices there to bring different perspectives makes everyone more entertained and gives you guys, the readers, more to dig into. I hope you enjoy reading this as much as I enjoyed being there. All three of these artists are incredible in their own rights and I’m greatly looking forward to seeing what they’ll do next. OH YEAH….One more thing…GO SEE LORDS OF CHAOS  NOW!!!!!!!!

LORDS OF CHAOS is now available in select theaters nationwide.

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Lorry Kikta

Lorry Kikta is a writer living in Queens, New York, originally from Atlanta, Georgia who loves Lars Von Trier, though sometimes against her better judgment. In addition to writing film reviews for NC and other sites such as FilmThreat, she writes essays and poetry that have been published in various print and online publications. You can find her reading her poems or djing all over NYC. While she's not doing that, she's watching movies or writing her screenplay on her couch at home, with her boyfriend Greg and cat Peanut by her side.

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